On his self-produced 10inch Vinyl, saxophonist Tobias Meier has created a
gem of 9 miniatures. Taken individually, the 9 microscopic pieces focus
on experimental happenings between instrument and microphone, overtone
structures and polyphonic overdubs, mixed with microphoned inner worlds
of the instruments and supposedly peripheral sounds. Together, the
miniatures translate into an audiophile, organic matrix and assemble
like a kaleidoscope, of which Frantz Loriot (viola), Silvan Jeger
(cello) and Dominique Girod (bass) are also part.

The B-side of the album comprises a single 9-minute solo piece in which
the saxophonist and the saxophone melt into one interface. The varying
column of air and the static fingering due to on-going shifts result in a
kind Möbius construct while the “noises” emerging from the flap, the
overtones and breath create a second soundscape.

Tobias Meier gathered the miniatures of "Interesting - N I N E M I C R O
S C O P I C T H O U G H T S" over more than a year. The microphone
became an integral part of his approach (as also known of field
recordings for example), deconstructing the relationship between the
instrument, the microphone and the phonogram. Opting for vinyl gives an
additional sensual dimension to the subtle structures of this
microscopic harmonics world.

(English adaptation: Yve Delaquis/caralingua.com)

Album Credits
Recorded in different places between 2014 and 2015. Edited by Tobias
Meier, Mixed and Mastered by Hannes Kumke. Produced by Tobias Meier
www.tobias-meier.ch

A sort of Escherian tonal stairwells opens this collection short experimental pieces by which Swiss alto sax player and composer Tobias Meier tried to catch sonic events in between instruments and microphones, resulting in amazing interferences and interceptions by/from inside/outside the instrument itself. Besides the sonic "strategy" to grab any interesting events occurring outside (check the second miniature of the first track to have an idea about Tobias's way to interbreed field recordings and instruments) or inside instruments by means of microphones, the lack of that kind of homogeneity, which commonly characterises compositions, got widely balanced by digressions in the stylistic field in between avant-garde-jazz, field recordings, Morton Feldman's pathways and contemporary classic music, where a sort of dark-ambient claustrophobic incipit could be the introductions for airy classical harmonies, sinister scratches over strings on the threshold between noise and silence could be embellished by the occasional tweeting of surrounding birds, Colin Stetson-like repetitions can gradually turn into a sort of tribal tapping over sax keys - have a listen his additional "another microscopic thought" on B side -. I fully agree with Berni Doessegger's introductory words, when he says that the choice of vinyl "gives an additional sensual dimension to the subtle structures of this microscopic harmonics world", which features the contributions by Frantz Loriot (viola), Silvan Jeger (cello) and Dominique Girod (bass) as well. "
(Vito Camarretta)